Artwork: Hartmut Wirks

 

AudioArt Compilation 03 | Various Artists

Gruen 041 | Audio CD > [Sold Out]

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Reviews

 

01 Anthea Caddy and Thembi Soddell

plait

(P) 2006, Australia

 

02 Stefan Funck

MP3

NachtLKw

(P) 2006, Hamburg/Germany

 

03 Budhaditya Chattopadhyay

Benaras

(P) 2006, Kolkata, India

 

04 Music for one

MP3

Beginnings With No Ends

Live at The Social, Nottingham,UK (P) 2002, United Kingdom

 

05 Costa Gröhn

Fundacio Antoni Tapies

Field Recording, 28/07/2006, 15:00h Barcelona, Catalonia, Spain (P) 2006, Spain

 

06 Brandstifter

Rauschgiftengelloops

Live at St. Bonifazius Church 05.11.05, Mainz (P) 2005, Mainz/Germany

 

07 Bela Emerson

MP3

Subaqua

(P) 2006, United Kingdom

 

08 Patrick Franke

Cospudener See

Field Recording, Markleeberg/Teichrohrsänger (P) 2006 Leipzig, Germany

 

09 Suspicion Breeds Confidence

Meriten der Begeisterungsresistenz

(P) 2006, T. Bucalic/T. Schmitt, Germany

 

10 Lasse-Marc Riek

Nord-Ostdeutschland 2006

Field Recording, Samow, Pönitz, Grimmen (P) 2006 Frankfurt am Main/Germany

 

11 etzin

MP3

me and myself

(p) 2006, Frankfurt am Main

 

12 etzin/riek

unter the bonnet

Field Recording, motorway service area (P) 2003 Frankfurt am Main/Germany

 

13 Martin Moritz

MP3

Mitsubishi

(P) 2006, Hamburg/Germany

 

14 gran où lée

Klippenkeks

(Study for a live set) (P) 2005 Koblenz, Germany

 

15 Carsten Klook

In der Diskothek

Taken from „Halbe Portion Jubel“ (P) 2005 Hamburg, Germany

 

 

15 Tracks (71’28“)

CD (250 copies)

 

Compiled by Gruenrekorder/Frankfurt am Main

© By the artists of Gruenrekorder

© Photos/Artwork: Hartmut Wirks/Frankfurt am Main

Layout: E6

Gruenrekorder / Germany / 2006 / Gruen 041 / LC 09488

 

Artwork: Hartmut Wirks

 


 

Reviews

 

01 Vital Weekly

GRUENREKORDER AUDIOART COMPILATION 03 (compilation CD by Gruenrekorder)

Germany’s Gruenrekorder label releases many CDRs, all dealing with ‚experimental‘ music in it’s wide variety of forms. Field recordings play an important role, but also electronics, improvisation and sound poetry. Every once in a while they release ‚real‘ CDs, usually compilations, filled with their roster. As such ‚Audioart Compilation 03‘ is nothing new under the sun. Costa Grühn, Lasse-Marc Riek, Stefan Funck, Gran Ou Lee, Etzin, Suspicion Breeds Confidence: they are all names we heard before, on ‚Audioart Compilation 02‘ and the variety works well here again: from the engine of a car to a techno like song, and more adventurous forms of electronica: they are all there. It’s almost like a nice experimental radio show, except that there is no talking in between. But perhaps after the introduction from before, you could wonder why they need to be introduced again? Most remarkable, and perhaps one of the few non-German contributions is the one by Anthea Caddy and Thembi Soddell. (FdW)

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02 textura | Ron Schepper

VA: Audio Art Compilation 03 – Gruenrekorder

Gruenrekorder’s compilation features soundscapes from India, Australia, Spain, the UK, and primarily Germany. Inhabiting one end of the spectrum are relatively ‘pure‘ field recordings (Budhaditya Chattopadhyay, Lasse-Marc Riek) which build arrangements from ‘real‘ sounds (water ripples, birds, chanting voices, boat creaks, wind), the extreme case etzin/riek’s „under the bonnet,“ four minutes of engine car noise recorded at the Autobahnraststätte; at the other end are more conventionally musical pieces which stand out all the more for being fewer in number. The prettiest is music for one’s live electric guitar setting, „Beginnings With No Ends,“ where simple motifs and swooping arcs turn hypnotic as they grow in number. Compelling too is UK cellist Bela Emerson’s „Subaqua“ whose loops and effects generate swirling, kinetic rhythms that at times verge on country-techno. Ranging further beyond are Suspicion Breeds Confidence’s „Meriten der Begeisterungsresistenz,“ a slow-moving exercise in psychedelic post-rock, and Martin Moritz’s „Mitsubishi,“ an anomalous sampling of bleepy techno sputter. More representative of the collection are pieces that straddle multiple realms: Stefan Funck’s eerie, multi-layered dreamscape „NachtLKw,“ Brandstifter’s „Rauschgiftengelloops,“ which drowns blurry choral voices in ambient noise, and „plait“ by Australian sound artists Anthea Caddy and Thembi Soddell which layers violent cello scrapes over a nearly inaudible base. AudioArt Compilation 03 offers a good representation, then, of soundscape-related activity dedicated to exploring the ‘musicality of natural sound‘ though now might be as good a time as any to suggest a moratorium on bird and water sounds. January 2007

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03 Quietnoise | Tobias Bolt 2007-01-24

Review – »Audio Art Compilation 03« Various Artists – »Audio Art Compilation 03« (Gruenrekorder)

Auch mit dem dritten Teil dieser Sampler-Reihe ermöglicht Gruenrekorder einen schönen Blick auf zumeist recht aktuelle Arbeiten der beteiligten Künstler, wobei gleich mal auffällt, dass im direkten Vergleich zum Vorgänger einige neue Namen im Booklet auftauchen. Inhaltlich geraten die fünfzehn Tracks dann erneut zu einer erfreulich widerborstigen Ansammlung von quer über den hier schwammig zu denkenden Begriff Soundscape gefächerten Beiträgen, die von gewitzter Sound Poetry – Carsten Klook mit dem fantastischen Rausschmeißer »In der Discothek« – über spröde Klangskulpturen, wie beispielsweise »Subaque« von Bela Emerson, bis hin zum klassischen Aufgabengebiet Field Recordings reichen. Diese stellen auch den Großteil der Arbeiten, dabei entweder gänzlich im Urzustand belassen oder auch mittels lediglich sanften Treatments zu atmosphärischen Soundcollagen verstrichen. Ein besonders schönes Beispiel für die zuletzt genannte Kategorie ist »NachtLKW« von Stefan Funck, der auf Tausendfuessler bereits eine kopfkinolastige Kurzstudie aus Eis und Schnee entworfen hat, und hier elegant Feldaufnahmen zu schwerelosen Drones übereinander schichtet. Brandstifter liefern mit »Rauschgiftengelloops« einen ebenso gelungenen Live-Mitschnitt aus der St. Bonifaz Kirche in Mainz, in dem Schallplatten-Loops von Chorgesängen zu ruppig waberndem, vielschichtigem Ambient verklebt werden. Unbearbeitete Field Recordings steuern unter anderem Budhaditya Chattopadhyay (Indien), Costa Gröhn (Barcelona), Patrick Franke (Cospudener See, Markleeberg) und Lasse-Marc Riek (Nord-Ostdeutschland) bei, wogegen man bei »Meriten der Begeisterungsresistenz« von Suspicion Breeds Confidence einer sehr entspannten Übung im Einzugsgebiet von elektronisch generiertem Ambient beiwohnen kann und music for one auf »Beginnins With No Ends« einfache Gitarrenfiguren hypnotisch geloopt um sich selbst kreisen lassen. Und auch die weiteren Beiträge befördern den positiven weil ausgesprochen eigenwilligen Gesamteindruck eines Projekts, das sich als kraftvoller und hörenswerter Entwurf weit abseits von herkömmlichen Ansprüchen und zugeknöpften Hörgewohnheiten präsentiert.

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04 DE:BUG | link

DE:BUG

 

05 Heathen Harvest

Gruenrekorder’s Audio Art Compilation 03, a collection of soundscapes from across the world, provides an excellent accompaniment to a windowed early morning train ride to work. There’s just enough hushed noise of the birds and water variety to create a seamless blend between the cloud-filled, blue sky of the world outside and the interior space of one’s headphones. At first. Then comes the rush of industrial organization, wheels grinding into place, and bells ringing. Throughout the album the artists circulate wildly between these poles, intruding on pacifying moments with bowed screeches and electronic whirs. And, since, hopefully one’s commute to work isn’t as long as this record, the last few tracks provide a pick-me-up, a few danceable beats even, to carry one home after work and over a new threshold entirely.

 

Every so often a song interrupts the nature and klaxon mix to introduce a daydreamy concept, a few stolen moments of fading away from one’s fellow commuters. Standing out among these stand outs is Music for One (Canadian guitarist Sherry Ostapovitch)’s charming „Beginnings With No Ends“, which sounds like an outtake from Lee Ranaldo’s recent guitarwork at its most lucid, chiming moments. The guitar beats slowly step over the frets, pausing between notes, as if the guitarist is casting her eyes over the surrounding scenery, adding the slow motion time of a visualscape to the soundscape. Whereas Music for One’s guitar drifts oscillates wildly, Bela Emerson’s „Subaqua“ renders the cello unrecognizable, looping it rapidly, as wider themes circumscribe vicious scrapes of and sawings at the instrument. The density of these two pieces adds a welcome degree of interruption to an album that can occasionally drift into the mesmerizing calm of soundscape beachcombing. Among the tracks that wring unease from soundfields and quiet are Suspicion Breeds Contempt’s „Meriten der Begeisterungsresistenz“ and Lasse-Marc Riek’s „Nord-Ostdeutshland 2006,“ both pieces that distend the more ambient forays found elsewhere on the album.

 

Gruenrekorder has embarked on a difficult task, collecting soundscapes without sidestepping too far into bird squawks and wind tunnels, and for the most part, they’ve succeeded in a creating an album of sparkly sequencing.

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06 skug – Journal für Musik | Alfred Pranzl

 

Dem Ausloten von Klang gibt die »Audio Art Compilation 03« (Gruenrekorder) Raum. »NachtLKW« von Stefan Funck etwa hat ein böses Bassfrequenzwummern, während »Benares« von Budhaditya Chattopadhyay ein stimmiges Field Recording aus der indischen Pilgerstadt am Ganges ist. Music For One trägt ein wahres Juwel mit postrockigen Gitarren bei, oder Bela Emerson wundersame repetitive Geigenloopverschränkungen. Eine Vogelstimmencollage von Suspicious Breeds Confidence und ein originelles Mopedsample von Klippenkeks sind weitere Glanzpunkte aus der spannenden Compilation.

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07 EAR/Rational | Don Poe

Wow, the artwork on this folded/opening digipack is really eye-catching. Nice job! Let’s start with Track 4 by Beginnings with No Ends „Music for One.“ This is a delicate piece with slight electronics and (maybe) a guitar. Very mellow and happy making. Cool glissandos in this one. A different track sounds like a race car getting started and gunning around town. Damn, some poor gear shifting in there, though! benaras hasa track titled „Budhaditya Chattopadhyay“ that sounds like it was recorded in Tibet. It strings together, smoothly, kids singing, a man chanting, bells and all things Buddhist sounding. Klippenkeks provides a windy sounding tortured electronics and buzzers piece. There are many more here!

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